9.1. Illustrations 1 – 404

The ‘DOC’ numbers refer to the Documentary Illustrations, a collection of (book) illustrations related to the four-fold, which were sampled by the author from 1986 onwards. The first number indicates the book of the series, the second points to the figure. The sets of these DOC numbers can be found on Flickr – Quadralectics – http://http://www.flickr.com/photos/quadralectics

The ‘Int’ numbers refer to the collection of printed pages from the Internet, which were sampled by the author from September 1999 onwards. The first number indicates the book of the series, the second points to the page.

The page numbers between brackets refer to the printed version of the book ‘Quadralectic Architecture. A Survey of Tetradic Testimonials in Architecture‘ (Part 1/2). Falcon Press, Heemstede. ISBN 978-90-814420-0-8 by Marten Kuilman (2011).

Fig. 13 (p. 30) – The development of a landscape. HIPPLE, Walter John, Jr. (1957). The Beautiful, The Sublime, & The Picturesque In Eigtheenth-Century British Aesthetic Theory. The Southern Illinois University Press, Carbondale. p. 202/203: Aquatints from William Gilpin’s Three Essays (1792). p. 266/267: Engravings by Thomas Hearne in Richard Payne Knight’s The Landscape (1794) (not 1749 as stated). The lower two engravings by Thomas Hearne (1744 – 1817) (not Hearn) show – on the left – a house and garden in the manner of Capability Brown. Payne Knight criticized the ‘placid and unadventurous scene as essentially unnatural’. His own, more picturesque, approach is visualized in the engraving to the right. The emphasis is more on the ‘nature and the architectural qualities of roughness, variety and intricacy.’ Page 76 in: WATKIN, David (1982). The English Vision. The Picturesque in Architecture, Landscape and Garden Design. John Murray (Publishers) Ltd., London. ISBN 0 7195 3972 2 Also in: JELLICOE, Geoffrey & Susan (1975/1995). The Landscape of Man. Shaping the Environment from Prehistory to the Present Day. Thames and Hudson Ltd., London. ISBN 0-500-27819-9- DOC35/4806/4808 – 4811. See for a selected bibliography on landscape architecture: JOHN, Richard (2000). ARC 404 – Introduction to landscape architecture. University of Miami School of Architecture;Fall 2000. http://intranet.arc.miami.edu/rjohn/ARC – 404/ARC404-Bibliography.htm

Fig. 19 (p. 37) – An imagenary garden landscape. From Lorenz Stör’s ‘Geometria et Perspectiva’, printed by Hans Rogel in 1567 in Augsburg. MELOT, Michel (1984). The Art of Illustration. Editions d’Art Albert Skira S.A.. Geneva/Rizzoli International Publications, Inc. New York. ISBN 0-8478-0558-1 – DOC8/970. This woodcut is number six of a series of eleven. Its shows a twin (stellated) tetraeder, known as Keplers ‘Stella octangula’. The figure was also published by Wenzel Jamnitzer in 1568 and was rediscovered by Kepler in 1619 (and published in his ‘Harmonice Mundi’). Two stella octangula featured in M.C. Echer’s wood engraving ‘Stars’ (1948). See also: http://www.mathe.tu-freiberg.de/~hebisch/cafe/stoer/geometria6.html

Fig. 20 (p. 38) – The Orto Botanico in Padua. A hortus conclusus offers protection against a hostile outer world. Francesco Bonafede founded the Orto Botanico on the 29th of May 1545 as part of the cloister St. Giustina. The ringed wall has a diameter of eighty-four meters and got a marble balustrade in the eighteenth century. The most famous plant is La Palma di Goethe, noticed by Goethe, who visited the garden on the 26th of September 1786. The palm was then already two centuries old. This map dated from 1591 and was given in: PORRO, G. (1591). L’Horto de I semplici di Padova, Venice. And: ZONNEVELD, van, Peter (1985). Aardse Paradijzen. Botanische tuinen in Europa en Azië. Kwadraat, Utrecht. ISBN 90 6481 040 0 and in: LAZZARO, Claudia (1990). The Italian Renaissance Garden. From the Conventions of Planting, Design, and Ornament to the Grand Gardens of Sixteenth-Century Central Italy. Yale University Press, New Haven and London. ISBN 0-300-04765-7 Also in: ROSSI SPADEA, Marcella (1995). Orti Botanici. Una Gloria Italiana. Pp. 98 – 102 in: Il Carabiniere. VANNUCCHI, A. (Ed.). Roma/Gennaio 1995. DOC69/8180; DOC69/8254; VIER, p. 407; fig. 262.

Fig. 28 (p. 46) – The Tuileries Gardens in Paris. Jacques Androuet du Cerceau – The Tuileries Gardens. Only the right half in: JACQUES, David (1999). Op. cit. A good description of the history of the Tuileries is given in : WOODBRIDGE, Kenneth (1986). Princely Gardens. The origins and development of the French formal style. Thames and Hudson, London. ISBN 0-500-01357-8. DOC62/7467; DOC70/8343.

Fig. 47 (p. 69) – A map of the western part of the Labyrinth. MATTHEWS, W.H. (1922/1970). Mazes and Labyrinths. Their History and Development. Dover Books, New York. Int91/12259 – 12264. Original in: PETRIE, Flinders (1912). The Labyrinth, Gerzeh and Mazghuneh. This book is avaible on the Internet: PETRIE, W. M. Flinders (1883). The Pyramids and Temples of Gizeh. 1st ed. London: Field and Tuer/Scribner & Welford, New York. Republished online at The Pyramids and Temples of Gizeh Online. Ed. Ronald Birdsall, 2003. Rev. December 2, 2008 http://www.ronaldbirdsall.com/gizeh

Fig. 50 (p. 72) – Building complex at Knossos (Crete). The Minoan building complex at Knossos (Crete). CASTLEDEN, Rodney (1990). The Knossos Labyrinth. A new view of the ‘Palace of Minos’ at Knossos. Routledge, London and New York. ISBN 0-415-03315-2 – Also (slightly different) in: SCULLY, Vincent (1962). The Earth, the Temple and the Gods. Greek sacred Architecture. Yale University Press, New Haven and London. A reconstruction is given in: WATKIN, David (1986). De westerse architectuur. Een geschiedenis (A History of Western Architecture). SUN, Nijmegen/Calman & King Ltd., London. ISBN 90 616668 409 9. DOC63/7636, 7647; DOC63/7653; DOC92/11264; DOC35/4763.

Fig. 51 (p. 73) – Labyrinth in a Roman villa in Orbe (Switzerland). DASZEWSKI, Wiktor A. (1977). Nea Paphos II. La mosaique de Thesee. Etudes sur les mosaiques avec representations du labyrinthe, de Thesee et du Minotaure. Centre d’archeologie mediterraneenne de l’academie polo-naise des sciences. PWN, Editions scientifiques de Pologna. Varsovie, 1977. – DOC53/6644. ‘Two decades of research have uncovered the vestiges of the vast antique estate which was initially known for its mosaics. Some hundred rooms arranged around two peristyles: a monumental palatial building dating back to the 2nd and 3rd century, complete with all its annexes and protected by a surrounding wall measuring 400 metres by 400 metres’. http://www.orbe-tourisme.ch/en/Culture_Patrimoine/Roman_Mosaics/villaromain

Fig. 53 (p. 75) – Labyrinth with the four elements. In Guillaume de la Perriere – Le Theatre des bon engins (Paris, 1539). Fig. 399 in: KERN, Hermann (1982). Op. cit. This book is, in my opinion, still the best reference for the subject of the labyrinth. The literature is wide and varied, pointing to a timeless interest all over the world. Its attraction can be explained by the ‘Fourth Quadrant’ nature of the labyrinth. However, a heightened attention to the subject does not necessarily point to a position (of the observed) in the last quadrant of a communication. A dated compilation of ‘Mazes and how to thread them’ can be found in: DUDENEY, Henry E. (1917/1947). Amusements in Mathematics. Thomas Nelson and Sons, London. This same book (p. 119ff ) has an instructive chapter on ‘Magic Square Problems’. DOC24/3431; DOC112/13926.

Fig. 67 (p. 98) – A reconstruction of the temple-pyramid of Nebhepetre-Mentuhotep in Deir el Bahari. FAKHRY, Ahmed (1961). Op. cit. DOC74/8818. The original reconstruction by Somers Clarke is given as ‘a model of the grave and temple of Mentuhotep III’ (Abb. 62) in: LIGETI, Paul (1931). Der Weg aus dem Chaos: Eine Deutung des Welt-geschehens aus dem Rhythmus der Kunstentwicklung. Verlag Georg D.W. Callwey, München. Somers Clarke (1841 – 1926) was a Brighton-born architect and Egyptologist, who worked at a number of sites throughout Egypt, including Deir el Bahari. Earlier in his career (1887) he was involved in the restoration and enlargement of the Holy Trinity Church in Ardington near Wantage (formerly Berkshire, now Oxfordshire). Key p. 25, fig. 11.

Fig. 74 (p. 108) – The visibility of the Greek cultural period. The visible visibility area (X) is that part of a communication, which is most prominent to the observer. It is chosen between 900 BC, when the Geometric period started and 150 BC, when Greece was annexed by the Roman Empire (in 146 BC). Interpretation by Marten Kuilman.

Fig. 95 (p. 134) – The Temple of Minerva Medica and Michelozzo’s rotunda at the east of the SS. Annunziata, Florence. PEVSNER, Nikolaus (1943/1961). An Outline of European Architecture. Penguin Books Ltd.,/Pelican Books, Harmondsworth, Middlesex.

Fig. 96 (p. 135) – The temple complex at Baalbek (Libanon). Drawing by Marten Kuilman after a local postcard. A view and plan of the Temple of Venus in Baalbek is given as fig. 250/251: JANSON, H.W. (1962/1986). History of Art. N. Abrams, Inc., New York. ISBN 0-8109-1094-2 – DOC84/10217.

Fig. 97 (p. 136) – The Stone of the Pregnant Woman. Drawing by Marten Kuilman after a photo.

Fig. 107 (p. 147) – A proposal for the communication graph (CF-graph) of the Meso-American cultures by Marten Kuilman. The (visible) visibility area (X) starts at the year 200 BC and the end of the historical visibility period is in 1500.

Fig. 114 (p. 155) – The stela at Dzibilchaltun, north of Merida (Mexico). A drawing by Marten Kuilman after a photo by Edward Dawson. http://www.dallas.net/~lalo/chichen.html See for a plan and eleveation p. 124 in: STIERLIN, Henri (1981). Op. cit. DOC74/8833.

Fig. 123 (p. 167) – The Tonalpohualli calendar and the five parts of the world. ENDRES, Franz C. & SCHIMMEL, Annemarie (1984). Das Mysterium der Zahl. Zahlensymbolik im Kulturvergleich. Eugen Diederichs Verlag, Köln. ISBN 3-424-00829-X. ‘The system of the tonalpohualli can be best understood by imagining two wheels that are connected to each other. One wheel has the numbers “one” to “thirteen” written on it. The second wheel has twenty symbols on it. In the initial situation, number “one” combines with the first symbol. This is the first day of the tonalpohualli. Now the wheels start moving and number “two” combines with the second glyph. This is the second day. After fourteen days, an Aztec week (trecena in Spanish) of thirteen days has passed. The wheel with the numbers shows number “one” again. The other wheel now shows the fourteenth symbol. After 260 days, the two wheels have returned to their initial position. The tonalpohualli starts all over again’. René Voorburg in: http://www.azteccalendar.com/azteccalendar.html See also for the calendar system (in Dutch): ZANTWIJK, Rudolf A.M. van (1977). Handel en wandel van de Azteken. De sociale geschiedenis van voor-Spaans Mexico. Van Gorcum, Assen. ISBN-10: 9023215095. DOC16/2228-2229

Fig. 138 (p. 188) – Part of a map of the Khotan Oasis by Aurel Stein. STEIN, M. Aurel (1903). Sand-buried Ruins of Khotan. Personal Narrative of a Journey of Archaeological & Geographical Exploration in Chinese Turkestan. T. Fisher Unwin, London. Modern research in the area is carried out by the French archaeologue Corinne Debaine-Francfort. She discovered with her team a whole new city (Djumbulak Kum) in the prehistoric delta of the Kerya River, some forty kilometers north-northwest of Dayehan (Xinjiang Province, China). See:DEBAINE-FRANCFORT, Corinne (1998). The Search for Ancient China. Discoveries. Harry W. Abrams, Inc. New York. DOC82/9930.

Fig. 166 (p. 219) – The Temple of Life by Fritz Schumacher (1898 – 1900). WELTER, Volker M. (2002). Biopolis.ick Geddes and the City of Life. The MIT Press, Cambridge, Massachusetts. ISBN 0-262-23211-1. Another impressive architectural phantasy, along the same lines, was given by Alois Bastl (1872 – 1947) and his ‘Palace for Scientific Occult Sciences’ (Wagnerschule, 1902). See Pl. I, 4 in: BOYD WHYTE, Iain (2003). Modernism and the Spirit of the City. Routledge, London. ISBN 0-415-25840-5. DOC76/9177.

Fig. 167 (p. 220) – The ‘Temple of Arts and Craft’ by C.R. Ashbee (1917). WELTER, Volker M (2002). Op. cit. The central figure in the Arts and Crafts Movement was William Morris (1834 – 1896). Morris founded in 1861 a company to design decorative objects like wallpaper, textiles, furniture and stained glass. The American Craftsman Movement in architecture included the Prairie School of Frank Lloyd Wright and George Washington Maher. DOC76/9179.

Fig. 175 (p 233) – The S. George Church, Thessalonica (Greece). LOWRIE, Walter (1906). Monuments of the Early Church. The MacMillan Company & Co. Ltd., New York/London. Annabel WHARTON (1988) gives a plan of the St. Sophia in Thessaloniki, which has a complex, centralized form. Similarities with the Church of the Koimesis in Nicaea, the cathedral at Vize, and the Church of St. Nicholas in Myra are noted. Fig. 4.1 in: WHARTON, Annabel J. (1988). Art of Empire. Painting and Architecture of the Byzantine Periphery. A Comparative Study of Four Provinces. Pennsylvania State University Press. ISBN 0271004959. DOC81/9856; DOC112/13880.

Fig. 179 (p. 237) – The Holy Sepulchre in Northampton. Fig. 188 in: GÖTZ, Wolfgang (1968). Zeltralbau und Zentralbautendenz in der Goti-schen Architektur. Gebr. Mann Verlag GmbH., Berlin. The Church of the Holy Sepulchre is the largest and best-preserved round church in England, built between 1100 and 1108. DOC 75/9030.

Fig. 186 (p. 245) – A plan of the Church of the Prophets, Apostles and Martyrs in Jerash (Jordan). Fig. 30 in: DAVIES, J.G. (1952). The Origin and development of early Christian Church Architecture. SCM Press Ltd., London. DOC73/8693.

Fig. 196 (p. 255) – A tetraconch plan of the Palatine chapel of Kvetera, northeast of the capital Tbilisi. According to Mépischavili and Tsintsadzé. The small church at Kvetera dated back to the first half of the 10th century. It is part of a split-level palace complex. CSEMEGI-TOMPOS (1975) noted that the church is similar to the domed cross-plan of the six-seventh century churches. Modern scholars do not connect the Kvetera church with the Armenian constructions of Achtamar (915-921) and Varagavank (1021), like Strzygowski did. Erzsébet Csemegi-Tompos said (p. 54) that: ‘It is certainly notable that churches reviving the combination of the cross and the octagon appeared in several places, where Christian states had triumphed in their struggle against Islam. This conception evolved not only in the Caucasus region, but also in Athens during the tenth century, for example, in the Oriental solution of the Hagioi Apostoli.’ DONABEDIAN, Patrick (1989). L’Architecture religieuse en Georgie autour de l’an mille. Pp. 83 – 119 in: Les Cahiers de Saint-Michel de Cuxa. Centre permanent de Recherches & d’Etudes preromanes & romanes. Abbaye de Saint-Michel de Cuxa, Prades-Codalet. Juillet 1989, no. 20. DOC15/2056.

Fig. 213 (p. 274) – The temples of Ellora in India. BIDDER, Irmgard (1958). Op. cit. ‘The only known examples of Lalibela-type of religious building’ has to be understood in terms of size. The cave churches of Cappadocia (Turkey) have a similar genetic history. They are cut in the soft volcanic rocks (tuffs) of the Göreme Valley. Many cave churches and monastic residences have fresco paintings with religious motives and graffiti, made by monks and laymen. The highlights of artistic expression was from the beginning of the tenth century through the first three quarters of the eleventh century. The Battle of Manzikert in 1071 caused a transition of power from the Christian, Greek-speaking Byzantines to the Moslem Turks. The cross-in-square plan (like the Kiliçlar Kilise) was influenced by the Bodrum Camii in Istanbul’. See: WHARTON, Annabel J. (1988). Art of Empire. Painting and Archi-tecture of the Byzantine Periphery. A Comparitive Study of Four Provinces. The Pennsylvania State University Press, University Park and London. ISBN 0-271-00495-9. The village of Aubeterre-sur-Dronne (Charente, France) has a small monolithic church (Saint Jean), dating from the twelfth century. DOC85/10366.

Fig. 218 (p. 279) – The rebuilding of the St. Peter on the CF-graph of the European cultural history as interpreted by Marten Kuilman (2005).

Fig. 219 (p. 280) – Plan of the Roche Abbey, a Cistercian monastery in Sandbeck Park, Maltby. DOC49/6217. LAWRENCE, C.H. (1984). Medieval Monasticism. Forms of religious life in Western Europe in the Middle Ages. Longman, London & New York. ISBN 0-582-49185-1. ‘As part of a programme to enhance his family seat at Sandbeck Park, in 1775 Lord Scarbrough commissioned Capability Brown to landscape the area. With little regard to the archaeological importance of Roche Abbey, Brown extensively demolished the remaining buildings, constructed huge earth terraces, and turfed across the entire site, leaving only the two transepts as ‘romantic’ features in the grounds. Until the end of the 19th century the remains of Roche lay disguised beneath Brown’s wooded parkland, but with a successful programme of excavation during the 1920s, Roche was ‘reborn’ out of the ground’. http://www.rotherhamweb.co.uk/h/sandbeck.htm

Fig. 220 (p. 281) – Plan of the Cathedral of Uppsala. Carolus Linnaeus (1707 – 1778), founder of the classification of plants and anilmals, is buried in the Uppsala Cathedral. ‘He lies at rest together with his wife and son, just to the right of the main entrance. In 1708 a 30´ (9 m) momument of Älvdal porphyry, incorporating a bronze medallion by Sergel, was placed in a chapel near the grave’. (In: GARDINER, Brian G. (2007). The Linnean Tercentenary. Some Aspects of Linnaeus’ Life). http://www.linnean.org/fileadmin/images/The_Linnean_-_Tercentenary/6-Uppsala.pdf NORDSTRÖM, Folke (1956). Virtues and Vices on the 14th Century Corbels in the Choir of Uppsala Cathedral. Almqvist & Wiksell, Stockholm. DOC49/6210; Int68/9210 – 9214.

Fig. 222 (p. 283) – Early examples of piers with detached shafts. Fig. 156 in BONY, Jean (1983). French Gothic Architecture of the 12th and 13th Centuries (California Studies in the History of Art; 20) University of California Press, Berkeley. ISBN 0-520-02831-7. DOC65/7856.

Fig. 227 (p. 288) – West façade of the Bourges Cathedral, France. Fig. 1 in: BRANNER, Robert (1989). The Cathedral of Bourges and Its Place in Gothic Architecture. The MIT Press, Cambridge, Massachusetts/London, England. ISBN 0-262-02276-1. Drawing by Marten Kuilman after photo by the Compagnie des Arts Photomécaniques/Roger-Viollet. The four-pointed rose window of the western façade (grande housteau) was probaly commisioned by Jean, Duc de Berry (1340 – 1416) at the end of the fourteenth century (c. 1390; glass after 1452). The lozenge shape moved away from the Rayonnant forms. DOC112/13886.

Fig. 259 (p. 324) – A number of churches with an octagonal ground plan in Germany. A. Plan of the Busdorf Church in Paderborn. Fig. 154 in: GÖTZ, Wolfgang (1968). Op. cit. See also: Grundrisse. Grabeskirche Jerusalem (Arkulfplan, after 674), Busforfkirche in Paderborn (1036), Krukenberg-Kirche (1126), and Michaelskirche in Fulda (820 – 822, renovation 11th century). In: SCHWERING-ILLERT, Gisela (1963). Die ehemalige französiche Abtei-kirche Saint-Sauveur in Charroux (Vienne) im 11. und 12. Jh. Inaugural-Dissertation der Rheinischen Friedrich-Wilhelms-Universität zu Bonn. Zentral-Verlag für Dissertationen Triltsch, Düsseldorf. The Dome in Padernborn, officially called the St. Libore and St. Kilian Cathedral, is of the basilica-type. A plan of the ‘Eglise Saint-Sauveur’ (a misnomer) in Paderborn (according to Thuemmler) is given as fig. 10 in: GRODECKI, Louis (1958). L’Architecture Ottonienne. Armand Colin, Paris. ‘The Kaiserpfalz behind the cathedral is a reconstruction. In 1964 archeologists found the foundation of Charlemagne’s palace, the very same place where king and pope had negotiated the coronation in 799.
Until 1977 the archeologists also unearthed the much better preserved palace of Heinrich II, built in the early 11th century. The finds allowed a reconstruction of this building that includes historical substance.’ (Kathrin, Karlsruhe). http://www.virtualtourist.com/travel/Europe/Germany/Land_Nordrhein_Westfalen/Paderborn-29492/Things_To_Do-Paderborn-BR-1.html DOC74/8938; DOC93/11493. B. A plan of the crypt of the Stephans Church in Kourim, Bohemen (45 kilometers east of Prague (Czech Republic). Fig. 154 in: GÖTZ, Wolfgang (1968). Op. cit. The church dated from 13th century and is a prominent example of early Gothic architecture. The rosewindow in the tower has three circles. ‘The recent discovery of medieval murals of more than twenty angels playing musical instruments, on the vault of St. Catherine’s crypt in St. Stephen’s Church in Kourim, Central Bohemia, represents a rich contribution to organology. The Kourim murals are considered the largest fully preserved set of images of music instruments from the High Middle Ages in the Bohemian Lands. The paintings were created at the beginning of the 15th century. Around the mid-15th century they were whitewashed, and thus spared later changes; it is therefore possible to believe them to be faithful documents of their time. The murals represent commonly used, as well as rare, instruments. Of greatest importance here is the mural of the tromba marina, enriching current knowledge about the use of this instrument from geographical and chronological points of view. With the help of a detailed description and comparison with other period sources, the article attempts to shed more light on music instruments used at the turn of the 14th and 15th centuries’. Abstract from: MATOUSEK, Lukas (2009). New Discovery of medieval music instrument murals in Kourim (Nove objevena vyobrazeni stredovekych hudebnich nastroju v Kourimi). Pp. 5 – 30 in: Hudebni veda (Musicology), Vol. 46, number: 1-2. http://cejsh.icm.edu.pl/cejsh/cgi-bin/getdoc.cgi?09CZAAAA06781 – DOC 75/9022. C. A plan of the crypt of the S. Aegidius Church in Oschatz (Saxony). Fig. 161 in: GÖTZ, Wolfgang (1968). Op. cit. The Gothic church burned down in 1842 and was rebuild between 1846 and 1849. DOC75/9023. D. The (former) SS Maria and Laurentius Church in Ludorf (Mecklenburg). Fig. 147 in: GÖTZ, Wolfgang (1968). Op. cit. DOC75/9019.

Fig. 267 (p. 332) – The Communication Graph of the European cultural period as interpreted by Marten Kuilman. The communication cycle (V) starts at the beginning of the Christian calendar (1 AD). The beginning of the visibility period X is positioned in the year 750 AD, when the reign of Charlemagne marked an effort to create a united Europe.

Fig. 289 (p. 358) – The zodiac ceiling in the Temple of Bel in Palmyra (Syria). Drawing in Wood and Dawkins’ ‘The Ruins of Palmyra otherwise Tedmor, in the Desart’; London, 1753. ‘No such meticulous and handsome archaeological work had yet appeared in the English language, and the nation could feel proud to have a worthy competitor for the lavish folios produced in France and Italy’ (RIBA). The plates were engraved by Pierre Fourdrinier, Thomas Major and J.S. Muller, Jr., after drawings by J.B. Borra, the Italian architect who accompanied Wood and James Dawkins on their tour of Asia Minor in 1750-51’. DOC56/6911.

Fig. 299 (p. 368) – Sand painting from the island of Malekula. DEACON, A.Bernard (1934). Geometrical drawings from Malekula and other islands of the New Hebrides. Pp. 129 – 176 + Pl. XIII in: The Journal of the Royal Anthropological Institute of Great Britain and Ireland. Vol. LXIV (Jan – June 1934). Deacon’s collection remained incomplete, because he became a victim of cannibalism (kakae). The Ni-Vanuata – People of the Land – live over eighty islands and speak about hundred distinct traditional languages. Bislama functiones as the linking language between the indigenous vernacular and both English and French. For instance, the word for piano is: samting blong watman wtem blak mo waet tut, sipos yu kilim, hem I save krae arot, meaning ‘a whiteman’s thing with black and white teeth; if you strike it, it cries out.’ John Layard (1942) gave examples of the sand drawings in his book ‘Stone Men of Malkula Vao’. See also the drawings of the Malekula Islands in: SANTARCANGELI, Paolo (1984). Il libro dei Labirinti. Storia di un mito e di un simbolo. Frassinelli, Milano. ISBN 88-76845-015-X. DOC14/1893; DOC15/1999.

Fig. 313 (p. 388) – A heraldic pavement in King Edward’s Chapel, Shaf-tesbury. Drawing by Marten Kuilman. The arms of de Bryan are depicted in the third row to the right. http://www.angelfire.com/ca2/bryang/3piles.html ‘Guy, Lord Bryan by writ of summons, and a Garter Knight, was a distinguished soldier who fought at Crecy and Sluys, and was a friend of King Edward III. Burke’s General Armory blazons his arms as Or three piles conjoined in base azure although, as depicted later, the charges have also been shown with their longitudinal axes at right angles to the top edge of the shield rather than converging towards the base. Quite why the de Bryans chose the pile is not recorded although when we remember that it is regarded by some heraldists as a stylized representation of an arrowhead or the point of a lance rather than a stake or post used in bridge-building we probably need to look no further. The first time the family is mentioned in England (in the person of Wydo de Brione) is around the year 1160 when they held land in Devon – indeed Torbryan in the county carries their name until his day.’ (see fig. 300). Quoted from: Three Piles of Substance – published by The Heraldry Society. Posted by the Sept of the Knight de Bryan Sir Charles Bryant-Abraham, the Knight de Bryan.The Chevalier Guy N. Bryan, KdB, FSAI Commilitonum Honorariorum Commissarius. Originally published in ‘The Gentleman’s Magazine’ (1817). See also: NICHOLS, John Gough (1863). Armorial Pavement at Shaftesbury Abbey. P. 520 in: ‘The Herald and Genealogist, Vol. 1. John Bowyer Nichols and Sons, London/Harvard College Library (1939).

Fig. 318 (p. 398) – The plans of two large thermal complexes in Rome. A more extended plan of the Thermae of Caracalla (Rome) was given by: FLETCHER, Banister (1975). A History of Architecture (revised by J.C. Palmer). The Athlone Press, University of London. SBN 0 485 55001 6. DOC95/11730.

Fig. 326 (p. 407) – The Odeon in Catania (Sicily, Italy). Drawing by Marten Kuilman after: http://upload.wikipedia.org/wikipedia/commons/thumb/e/e7/Catania-Teatro.jpg A restored plan of the Odeion of Herodes Atticus in Athens, built as a memorial to his wife Regilla, is given as fig. 63 in: WYCHERLEY, R.E. (1978). The Stones of Athens. Princeton University Press, Princeton, New Jersey. Int151/20392; Int179/24278.

Fig. 334 (p. 418) – The Xenodochium of Pammachius, Porto (Portugal). Early fifth century AD. Fig. 27e in: LOWRIE, Walter (1906). Monuments of the Early Church. The MacMillan Company & Co., Ltd., New York/London. DOC79/9645. Dieter JETTER (1987; Abb. 96) gives a view and ground plan of the Hospital Real de Todos-dos-Santos, 1492 – 1502. The Hospital, designed by Diego Boitaca? (1450 – 1517), has a distinct cross-shape. Boitaca also designed the initial plan of the Jerónimos Monastery in Lisboa (Portugal).

Fig. 352 (p. 435) – The hospital in Wakefield. Model of the original 1818 building made by A.L. Ashworth, Hospital Secretary 1961 – 1973. ROBERTS, Andrew (2001). Notes on asylum architecture. http://www.mdx.ac.uk/WWW/STUDY/Asyarc.htm. See also for further information on asylums in Great Britain: ROBERTS, Andrew (2001). The Asylums Index 2001, Middlesex University (London): http://www.mdx.ac.uk/WWW/STUDY/4_13_TA.htm#Yorkshire The West-Riding Pauper Lunatic Asylum at Wakefield was designed by Watson and Pritchett, 1815 – 1818. The east wing was added in 1831 and the west wing in 1841. See also p. 90, fig. 17 in: JETTER, Dieter (1981). Grundzüge der Geschichte des Irrenhauses. Wissenschaftliche Buchgesellschaft, Darmstadt. ISBN 3-534-08287-7. Int154/20879; Int155/20984; DOC94/11568.

Fig. 356 (p. 439) – St. Barbara Hospital in Haarlem (The Netherlands). Drawing by Marten Kuilman after a photo by the author (Oct. 2006). The inscription reads:

——— ‘OM dat W11 oVt ende behoeftICH schenen VerLaten

——— Heeft Hvgo Van AssendeLf hIer gestICht tonser baten

——— ANNO BARBERA VROVWEN GASTHUVS 1624

(Because we were once needed and lost did Hugo of Assendelft founded here for our good the Barbara Women Hospital, 1624).

Some of the capitals in this chronogram (or time verse) double as Roman figures. They give, in addition, the year 1435, which the foundation year. Only the small gateway remained of the original hospital. See for a general background of care in Holland in the sixteenth century: PARKER, Charles H. (1998). The Reformation of Community. Social Welfare and Calvinist Charity in Holland, 1572 – 1620. Cambridge University Press.

Fig. 374 (p. 458) – A funeral relief with Osiris of the 23rd Dynasty. GROF, Stanislav (1994). Books of the Dead. Manuals for Living and Dying. Thames and Hudson, London. ISBN 0-500-81041-9. DOC26/3760.

Fig. 375 (p. 459) – The three main tomb types at Saqquara. MARTIN, Geoffrey T. (1991). The Hidden Tombs of Memphis. New Discoveries from the Time of Tutankhamun and Ramesses the Great. Thames and Hudson Ltd., London. ISBN 0-500-39026-6. DOC24/3444.

Fig. 376 (p. 460) – The three main building stages of the tomb of Horemheb in Saqqara (Memphis). MARTIN, Geoffrey T. (1991). Op. cit. DOC24/3443.

Fig. 387 (p. 473) – The Tomb of Mausolus. A drawing by Marten Kuilman after a reconstruction by Prof. Adler of Berlin (1900) as given by W.R. Lethaby (1908). Int85/11456; Int104/13995 – 14032; Int159/21494 – 21496.

Fig. 388 (p. 474) – A bust of Lysimachus (left) found at Ephesus and now in the archaeological museum of Selçuk (Turkey) and Seleucus Nicator (right), discovered in the Villa of the Papyri at Herculaneum, now in the Museo Archeologico Nazionale, Napoli (Italy). Int199/26978. Photo’s by Marco Prins and Jona Lendering. http://www.llivius.org/a/turkey/curupedium/curupedium.html

Fig. 389 (p. 475) – Plan of a typical Parsee ‘Tower of Silence’. From: MODI, Javanji Jamshedji (1922). The Religion, Ceremonies and Customs of the Parsees, India Office Library and Records Offive, Bombay. Also in: CURL, James S (1980). A Celebration of death. An introduction to some of the buildings, monuments, and settings of funerary architecture in the Western European tradition. Constable and Company Limited, London. ISBN 0 09 46 3000 3. DOC26/3644.

Fig 399 (p. 489) – The tomb of P. Vibius Marianus at the Via Claudia in Rome. DOC26/3630; DOC90/11049. Drawing by Marten Kuilman after a photograph (c. 1870) in J.H. Parker Collection, British School at Rome, No. PA 1634. Plate 2 in: CURL, James S. (1980). Op cit. See also p. 89; fig. 81 (left) in: COLVIN, Howard (1991). Architecture and the After-Life. Yale University Press, New Haven and London. ISBN 0-300-05098-4. G.B. Piranesi (1720 – 1778) depicted the sarcophagus-tomb as the ‘Tomb of Nero’. COLVIN (1991) p. 88, fig. 80. The death of Nero and the subsequent place of the Tomb of Nero was described by LANCIANO, Rudolpho (1892). Op. cit. Page 189: ‘Nero seemed determined to put an end to his life by throwing himself from one of the bridges; but again his courage failed, and he begged to be shown a hiding-place. It was at this supreme moment that Phaon the freedman offered him his suburban villa, situated between the Via Salaria and the Via Nomentana, four miles outside the Porta Collina. The proposal was accepted at once; and barefooted, and dressed in a tunic, with a mantle of the commonest material about his shoulders, he jumped on a horse and started for the gate, accompanied by only four men, – Phaon, Epaphroditus, Sporus, and another whose name is not given’. It is curious to read in Suetonius of the many grimaces the wretch made before he could determine to kill himself; he made up his mind to do so only when he heard the tramping of the horsemen whom the Senate had sent to arrest him. He then put the dagger into his throat, aided in giving the last thrust by his freedman Epaphroditus. The centurion sent to take him alive arrived before he expired. To him Nero addressed these last words: “Too late! Is this your fidelity?”. Nero’s ashes were placed in the tomb of the Domitian family, which stood on the spur of the Pincian Hill which is behind the present church of S. Maria del Popolo.

Fig. 401 (p. 492) – The mausoleum of Theodoric the Goth at Ravenna. DOC26/3629; DOC81/9861. Drawing by Marten Kuilman after CURL, James S. (1980). Op.cit. See also: LOWRIE, Walter (1906). Monuments of the Early Church. The MacMillan Company & Co. Ltd., New York/London.

Fig. 402 (p. 494) – A grave tomb in Amrit (Syria). DOC65/7762. HAUTECOEUR, Louis (1954). Mystique et Architecture. Symbolisme du cercle et de la coupole. Editions A. et J. Picard et Cie, Paris. The journalist and traveler Carol Miller investigated – on the website ‘Syria Gate’ – the roots and cultural links of the people living in the Amrit area: ‘Amrit was traditionally regarded as a cult site over a magical spring, with curative powers, and an adjacent necropolis for those who were not cured. Archaeological remains have been identified – though no one knows with what culture – and can be established as far back as the sixth to the eighth century B.C.’ And: ‘Or possibly Amrit was a dominion of those intrepid Amorites, a Semitic people, amorphous and ill-defined, but a nonetheless assertive and even ruthless collection of pasturing people, possibly from the area of the “Five Rivers” of the Punjab, who had already founded a chain of kingdoms in Mari, in Babylon, in Terqa, Ebla, Ugarit and Byblos, among many others, as they wended their way toward the west. Their name, in fact, from the Akkadian amarr?, means “west”.’ Miller made the interesting connection between the Indian city of Amritsar (Pundjab) and Amrit (Syria): ‘A joyous dilemma, wistful and remote’. ‘The Hyksos invaders of Egypt were verifiably Amorite. (See: Dictionary of the Ancient Near East, edited by Piotr Bienkowsky and Alan Millard, Philadelphia, University of Pennsylvania Press, 2000). Hamurabi of Babylon was the sixth king in an Amorite dynasty. His famous code of law conformed to an Amorite ethic. (See: Amélie Kuhrt, The Ancient Near East, c. 3000-330 BC, London, Routledge, 1995, 2 vols.); Zimri-Lim, the last king of Mari, once Hamurabi’s ally, ultimately his rival, was Amorite, and so fell victim to the same ethic. (See: Gwendolyn Leick, ‘Who’s Who in the Ancient Near East’, London, Routledge, 1999)’. http://www.syriagate.com/Syria/about/cities/Tartous/amrit-cm.htm

Fig. 404 (p. 496) – Jabal-i-Sang near Kerman (Iran). ARDALAN, Nader & BAKHTIAR, Laleh (1973). The Sense of Unity. The Sufi Tradition in Persian Architecture. The University of Chicago Press, Chicago/London. ISBN 0-226-02560-8. DOC20/2904. ‘The town (of Kerman) is situated close to the wastes of Dasht-e Lut, from which it is separated by a range of mountains. Its name is probably derived from the tribe of Germanioi listed by Herodotus. Believed to have been founded in the early 3rd century AD by Ardashir I, founder of the Sassanian dynasty, it was from the 7th century ruled in turn by the Arabs, by Buyids, the Seljuks, the Turkmans and the Mongols. But it did not become famous for its carpets until long after the time of Marco Polo (who mentions only the skill of local leather workers, silk embroiderers and armoreres in 1271), for the town expanded rapidly under the Safavids in the sixteenth and seventeenth centuries, both the English and Dutch exporting Kermani carpets from the port of Bandar Abbas’. http://www.salamiran.org/content/index.php?option=com_content&task=view&id=134&Itemid=216